The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.

Hide

Synopsis

Alberto Garduño is the subject of this article. The author considers Garduño to be a keen observer, as his paintings of everyday life, once translated onto canvas, produce the intended effect. He points out that the artist has been recognized not only in Mexico but also abroad, and highlights the artist’s foray into tri-colored engraving, saying that Garduño has contributed greatly to its momentum given that he devotes himself to it with great determination. The text concludes by stating that this technique requires considerable ability and refined artistic perception.

Annotations

Alberto Garduño belonged to the generation of Diego Rivera, Roberto Montenegro, Ángel Zárraga, Saturnino Herrán and Alfredo Ramos Martínez, among other painters. Garduño entered the Academia de San Carlos in 1903 and had such teachers as Germán Gedovius and Félix Parra. He participated in the Centenario de la Independencia [Independence Centennial] exhibition organized by Dr. Atl (Gerardo Murillo) and a group of students and professors. Garduño took part in the strike at the Academy in 1911. It was not until 1925 that he had the opportunity to travel to Europe and upon his return he founded a private academy of painting in Mexico City. Alberto Garduño, like many other significant painters, was relegated to obscurity by historians of Mexican art in the 1930s.
The magazine Nuestra Ciudad was perhaps one of the last publications to promote Garduño’s work. It also reported on the post-revolutionary work of the aforementioned artists. (see doc. 736677).